Sally Kirkland Movies

It's On the Waterfront, Kojak-style, when sardonic Lt. Theo Kojak (Telly Savalas) investigates a murder on the docks. The victim was a longshoreman, and the killing was obviously linked to corruption within the local labor unions. Unfortunately, none of the other longshoremen are willing to talk to the detective, adhering to the old policy of "D-and-D" (deaf and dumb) when it comes to snitching on one of their own. ~ Hal Erickson, All Movie Guide

One of four dramatic miniseries carried by NBC under the blanket title Best Sellers, Captains and the Kings was adapted from a novel by Taylor Caldwell. Covering a time span from 1857 to 1912, this was the saga of the Irish-immigrant Armagh clan, with emphasis on the rags-to-riches career of Joseph Armagh (Richard Jordan). Achieving fame and prominence (if not full-fledged social acceptance) through a Byzantine series of investments in the oil industry, the elder Armagh was obsessed with the notion of having one of his sons become the first Irish-Catholic President of the United States (does this story sound vaguely familiar?). Along the way, Joseph and his offspring indulged in innumerable romantic liaisons, extramarital and otherwise. Featured in the all-star cast is Patty Duke Astin, who won an Emmy award for her portrayal of Bernadette Hennessey Armagh. Captains and the Kings was broadcast from September 30 to November 18, 1976 in seven installments, two of which ran 120 minutes, and the other six lasting 60 minutes -- a total of nine hours' air time in all. ~ Hal Erickson, All Movie Guide

The third remake of the 1932 drama What Price Hollywood?, this adaptation of A Star Is Born moved the story into the mid-1970's and changed the milieu from the movie business to pop music. John Norman Howard (Kris Kristofferson) is a rock star whose career has peaked; he is numbed by booze and cocaine, his music has lost its edge, and his performances have become painfully haphazard. One night, after a concert, he stumbles into a club where he sees a singing group fronted by Esther Hoffman (Barbra Streisand). John likes what he hears and loves what he sees; he tries picking her up, but soon realizes if he wants to see her, he'll have to ask her out on an actual date. He does, and before long the two become involved, although Esther has trouble with John's rock star lifestyle. One night, a typically burned-out John lets Esther sing a few songs at one of his shows; before long she's the talk of the record business. While Esther's star begins to rise, John's continues to sink, and while she desperately tries get John to clean up and focus on his music, it may be too late to save him. The song "Evergreen" earned this film an Academy Award for Best Song; the credits contain the amusing notice, "Ms. Streisand's Clothes from ... Her Closet." ~ Mark Deming, All Movie Guide

Cloris Leachman stars as Melba, a woman with whom violence is a way of life, in Jonathan Demme's high-pitched "B"-movie Crazy Mama. The film spans three decades in the violent life of Melba, beginning in Jerusalem, Arkansas in 1932, when law enforcers kill her father (Clint Kimbrough), turning her mother Sheba (Ann Sothern) into a bitter widow. Mother and daughter take off to Long Beach, California, and the time jumps to 1958, when the two are thrown out of their beauty salon for non-payment of back rent. Melba now has an attractive (and pregnant) teenage daughter Cheryl (Linda Purl). The three generations take to the road, stealing cars and creating general mayhem across the United States, robbing a motorcycle racetrack box office and a bank. But in 1959, Melba and Cheryl are picked up again, running a Miami Beach snack bar, their lives wasted in free-living terror. ~ Paul Brenner, All Movie Guide

An excellent cast, featuring Gene Hackman, Ben Johnson, and James Coburn, highlights this entertaining Western that came and went at the box office, barely noticed by audiences. That doesn't stop the exciting story from capturing the viewer's attention as a disparate group of riders assembles to participate in a marathon 700-mile horse race across the American West at the turn of the century. The standard mutual feelings of distrust give way to respect and grudging admiration as each rider is put to the test. Stunning cinematography and locations, plus a gripping pace set by director Richard Brooks, set this Western apart at a time when the genre was in decline. ~ Don Kaye, All Movie Guide

Three teenage candy stripers find adventure in love within the walls of the local hospital in this silly exploitation vehicle. Marissa (Maria Rojo) is a hotheaded Mexican girl who has been ordered by the principal of her high school to serve ailing patients in the hopes that she might learn some discipline. Dianne (Robin Mattson) is a modern dance enthusiast who wants to go on to medical school. Sandy (Candice Rialson) has hot pants and can't say no; her head is turned and her blouse removed by doctors, patients, and a rock star who visits the hospital's sexual dysfunction clinic. Along the way the girls find love, save a wrongfully accused man from a robbery rap, and uncover a college basketball drug scandal. ~ Fred Beldin, All Movie Guide

Four years after setting box offices ablaze in Butch Cassidy and the Sundance Kid, Paul Newman, Robert Redford, and director George Roy Hill re-teamed with similar success for The Sting. Redford plays Depression-era confidence trickster Johnny Hooker, whose friend and mentor Luther Coleman (Robert Earl Jones) is murdered by racketeer/gambler Doyle Lonnegan (Robert Shaw). Hoping to avenge Luther's death, Johnny begins planning a "sting" -- an elaborate scam -- to destroy Lonnegan. He enlists the aid of "the greatest con artist of them all," Henry Gondorff (Paul Newman), who pulls himself out of a drunken stupor and rises to the occasion. Hooker and Gondorff gather together an impressive array of con men, all of whom despise Lonnegan and wish to settle accounts on behalf of Luther. The twists and surprises that follow are too complex to relate in detail -- suffice to say that you can't cheat an honest man, and that you shouldn't accept everything at face value. The Sting became one of the biggest hits of the early '70s; grossing 68.5 million dollars during its first run, the film also picked up seven Academy Awards, including Best Picture, Best Director, Best Screenplay, and Best Adapted Score for Marvin Hamlisch's unforgettable setting of Scott Joplin's ragtime music. ~ Hal Erickson, All Movie Guide

"Gorgeous goyish guy" meets Jewish radical girl in Sydney Pollack's glossy romance. In 1937, frizzy-haired Red co-ed Katie Morosky (Barbra Streisand) briefly captures the attention of preppy jock Hubbell Gardiner (Robert Redford) with her passionate pacifism, while the writing talent beneath his privileged exterior entrances her. Almost eight years later, the two are reunited in New York, when well-coiffed leftist radio worker Katie spies military officer Hubbell snoozing in a nightclub. Through her force of will, and in spite of his smug rich friends, the two opposites fall in love, sparring over Katie's activist zeal and Hubbell's writerly ambivalence after a failed first novel. They head to Hollywood so that Hubbell can write a screenplay for his buddy-turned-producer J.J. (Bradford Dillman). But the House Committee on Un-American Activities' Communist witch hunt in 1947 tears the pair apart, as a pregnant Katie refuses to keep silent about the jailing of the Hollywood Ten, while a faithless Hubbell decides to save his career. When the two meet again at the dawn of the '60s, TV hack Hubbell and A-bomb protestor Katie feel the old pull, but they have to decide if it's worth the grief. Although blacklisted writers had returned to Hollywood -- and won Oscars -- by the early 1970s, the HUAC sections of Arthur Laurents's screenplay were still considered dicey, resulting in substantial cuts; Laurents reportedly blamed star Redford for not fighting them hard enough. Regardless of the edits, and critics' complaints about the film's schlockiness, 1973 audiences went for the well-executed and still politically tinged weepie, turning The Way We Were into one of the most popular films of 1973 and Redford into a major heartthrob. Streisand won an Oscar nomination for Best Actress and the Streisand-sung title tune won for Best Song. Despite the eviscerated politics, The Way We Were poignantly captures the insoluble dilemma of reconciling private desires with public awareness. ~ Lucia Bozzola, All Movie Guide

Robert Mitchum delivers a top-notch performance as Harry Graham, a lonely and tender lout of a father who, released from prison after having killed his wife many years ago, has to start anew but must deal with his embittered teenage son Jimmy (Jan-Michael Vincent). Jimmy, seeking vengeance upon his father, tracks him from the prison where he was incarcerated to the run-down seashore community where Harry is now eking out a living in a trailer park with his girlfriend Jenny (Brenda Vaccaro). When Jimmy at last confronts his father face to face, he finds he has to deal with many unresolved emotional barriers in their relationship. ~ Paul Brenner, All Movie Guide

Futz is the tender story of a man and his pig. Seth Allen plays a young farmer whose luck with women ranges from lousy to hopeless. Unable to relate to human females, the poor farmer concentrates all his love and affection upon his prize sow Amanda. The ensuing public uproar is but one of many ingredients to this pure-sixties stew. Director Tom O'Horgan (Hair, Lenny), who managed to turn Futz into a success as a Broadway play, was carried over to the film version - as were many members of the LaMaMa stage troupe responsible for the original play. ~ Hal Erickson, All Movie Guide

An international collection of second-string actors grace the cast of this bargain-basement Sergio Leone knock off. Terence Stamp stars as Azul, the son of evil Mexican bandit Ortega (Ricardo Montalban). Although Azul is a mean, low-down, varmint like Ortega's three other sons, there is a slight glimmer of goodness in his soul since he is adopted. He proves it when he kills one of his brothers who was attempting to rape beautiful Texan maid Joanne (Joanna Pettet). Renouncing his adopted family and claiming a new moniker by the name of Blue, he helps Joanne and her father on their farm, and soon Blue and Joanne are in love. Remorseful at the loss of Blue, Ortega tracks him down to regain his love. Instead, Blue rejects him, and Ortega, humiliated and disgraced by his son's rejection, gathers together an army in order to return to wreak revenge upon the Texans. Now Blue must organize the Texans into a fighting force to face the bandit army of his father. ~ Paul Brenner, All Movie Guide